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Home / Art in the 1990s Pop Art in the 1990s

Art in the 1990s Pop Art in the 1990s

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 fine art is an art movement that emerged in the United kingdom of great britain and northern ireland and the U.s. during the mid- to tardily-1950s.[i] [ii] The motion presented a claiming to traditions of art by including imagery from popular and mass culture, such as advertising, comic books and mundane mass-produced objects. One of its aims is to employ images of popular (as opposed to elitist) civilisation in art, emphasizing the bland or kitschy elements of any civilization, most often through the utilise of irony.[3] It is likewise associated with the artists' utilize of mechanical means of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material.[2] [3]

Amongst the early on artists that shaped the pop art movement were Eduardo Paolozzi and Richard Hamilton in Britain, and Larry Rivers, Ray Johnson. Robert Rauschenberg and Jasper Johns amongst others in the Usa. Pop art is widely interpreted as a reaction to the then-ascendant ideas of abstruse expressionism, too as an expansion of those ideas.[four] Due to its utilization of found objects and images, it is similar to Dada. Popular fine art and minimalism are considered to exist art movements that precede postmodern fine art, or are some of the earliest examples of postmodern fine art themselves.[5]

Pop art often takes imagery that is currently in utilize in advertizement. Product labeling and logos figure prominently in the imagery chosen past pop artists, seen in the labels of Campbell's Soup Cans, past Andy Warhol. Even the labeling on the outside of a aircraft box containing nutrient items for retail has been used as subject thing in popular art, every bit demonstrated past Warhol'due south Campbell'due south Tomato Juice Box, 1964 (pictured).

Origins [edit]

The origins of pop art in N America developed differently from Uk.[3] In the United States, pop art was a response by artists; information technology marked a return to hard-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 past Larry Rivers, Alex Katz and Homo Ray predictable pop art.[7]

By contrast, the origins of pop art in mail service-War Britain, while employing irony and parody, were more bookish. Great britain 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 order.[6] Early pop art in United kingdom of great britain and northern ireland was a matter of ideas fueled past American popular civilization when viewed from afar.[4] Similarly, pop art was both an extension and a repudiation of Dadaism.[4] While pop fine art and Dadaism explored some of the same subjects, pop art replaced the destructive, satirical, and anarchic impulses of the Dada move with a discrete affirmation of the artifacts of mass culture.[iv] Among those artists in Europe seen as producing piece of work leading up to pop art are: Pablo Picasso, Marcel Duchamp, and Kurt Schwitters.

Proto-pop [edit]

Although both British and American pop fine art began during the 1950s, Marcel Duchamp and others in Europe like Francis Picabia and Homo Ray predate the motility; in add-on in that location were some before American proto-popular origins which utilized "as plant" cultural objects.[four] During the 1920s, American artists Patrick Henry Bruce, Gerald Tater, Charles Demuth and Stuart Davis created paintings that independent pop culture imagery (mundane objects culled from American commercial products and advertising design), almost "prefiguring" the pop fine art motion.[8] [9]

U.k.: the Independent Group [edit]

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

The Independent Group (IG), founded in London in 1952, is regarded as the forerunner to the pop art motion.[two] [10] They were a gathering of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to culture likewise as traditional views of fine art. Their group discussions centered on pop civilization implications from elements such as mass advertising, movies, product design, comic strips, science fiction and technology. At the beginning Contained Grouping 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 "institute objects" such as advertizing, comic book characters, magazine covers and various mass-produced graphics mostly represented American popular culture. 1 of the collages in that presentation was Paolozzi's I was a Rich Man's Plaything (1947), which includes the showtime utilise of the word "popular", actualization in a cloud of smoke emerging from a revolver.[2] [11] Following Paolozzi's seminal presentation in 1952, the IG focused primarily on the imagery of American pop civilization, particularly mass advertising.[six]

According to the son of John McHale, the term "pop art" was kickoff coined by his father in 1954 in conversation with Frank Cordell,[12] although other sources credit its origin to British critic Lawrence Alloway.[13] [fourteen] (Both versions agree that the term was used in Independent Grouping discussions past mid-1955.)

"Pop art" as a moniker was then used in discussions past IG members in the 2d Session of the IG in 1955, and the specific term "pop fine art" commencement appeared in published print in the article "Merely Today We Collect Ads" by IG members Alison and Peter Smithson in Ark magazine in 1956.[15] Still, 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 linguistic communication he uses is "popular mass culture".[sixteen] "Furthermore, what I meant past it then is non what it means now. I used the term, and also 'Pop Culture' to refer to the products of the mass media, not to works of art that draw upon popular culture. In whatsoever case, one-time betwixt the winter of 1954–55 and 1957 the phrase caused currency in chat..."[17] Nevertheless, 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 time Pop Art had already transited from art schools and small galleries to a major strength in the artworld. But its success had non been in England. Practically simultaneously, and independently, New York City had go the hotbed for Pop Art.[17]

In London, the annual Royal Gild of British Artists (RBA) exhibition of young talent in 1960 first showed American pop influences. In January 1961, the near famous RBA-Young Contemporaries of all put David Hockney, the American R B Kitaj, New Zealander Baton 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 year. Apple tree and Hockney traveled together to New York during the Royal College's 1961 summer suspension, which is when Apple first made contact with Andy Warhol – both afterwards moved to the U.s.a. and Apple became involved with the New York pop art scene.[18]

United States [edit]

Although popular art began in the early 1950s, in America it was given its greatest impetus during the 1960s. The term "pop art" was officially introduced in Dec 1962; the occasion was a "Symposium on Pop Art" organized past the Museum of Modern Art.[19] Past this time, American advertising had adopted many elements of modernistic art and functioned at a very sophisticated level. Consequently, American artists had to search deeper for dramatic styles that would distance art from the well-designed and clever commercial materials.[6] As the British viewed American pop culture 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 piece of work that was mostly more bold and aggressive.[x]

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'due south collages Elvis Presley No. 1 and James Dean stand equally the Plymouth Stone of the Pop motility."[20] Author 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 advertizement his pattern services printed via first lithography. He afterwards became known every bit the male parent of mail fine art as the founder of his "New York Correspondence School," working pocket-size by stuffing clippings and drawings into envelopes rather than working larger similar his contemporaries.[22] A note about the comprehend image in Jan 1958's Art News pointed out that "[Jasper] Johns' first one-human show ... places him with such improve-known colleagues equally Rauschenberg, Twombly, Kaprow and Ray Johnson".[23]

Indeed, 2 other of import artists in the institution of America's pop fine art vocabulary were the painters Jasper Johns and Robert Rauschenberg.[10] Rauschenberg, who like Ray Johnson attended Black Mount Higher in North Carolina afterwards World War Ii, was influenced by the before work of Kurt Schwitters and other Dada artists, and his conventionalities that "painting relates to both fine art and life" challenged the dominant modernist perspective of his fourth dimension.[24] His employ of discarded readymade objects (in his Combines) and pop civilisation 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 mag clippings from Life, Newsweek, and National Geographic. Johns' paintings of flags, targets, numbers, and maps of the U.Due south. as well iii-dimensional depictions of ale cans drew attention to questions of representation in art.[27] Johns' and Rauschenberg'due south work of the 1950s is frequently referred to as 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 pop art. His work, and its use of parody, probably defines the basic premise of popular fine art better than any other.[10] Selecting the old-fashioned comic strip as subject matter, Lichtenstein produces a hard-edged, precise limerick that documents while too parodying in a soft way. Lichtenstein used oil and Magna paint in his best known works, such every bit Drowning Girl (1963), which was appropriated from the lead story in DC Comics' Secret Hearts #83. (Drowning Girl is office of the collection of the Museum of Modernistic Fine art.)[xxx] His piece of work features thick outlines, bold colors and Ben-Day dots to represent sure colors, every bit if created by photographic reproduction. Lichtenstein said, "[abstract expressionists] put things downward on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, similar Pollock's or Kline'south."[31] Pop art merges pop and mass civilization with fine art while injecting humor, irony, and recognizable imagery/content into the mix.

The paintings of Lichtenstein, similar those of Andy Warhol, Tom Wesselmann and others, share a direct zipper to the commonplace epitome of American popular culture, just also treat the subject in an impersonal manner clearly illustrating the idealization of mass production.[10]

Andy Warhol is probably the virtually famous figure in popular fine art. In fact, art critic Arthur Danto in one case chosen Warhol "the nearest thing to a philosophical genius the history of art has produced".[19] Warhol attempted to take pop beyond an artistic style to a life style, and his work oft displays a lack of man 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 first shows in the Judson Gallery in 1959 and 1960 and later in 1960 through 1964 along with James Rosenquist, George Segal and others at the Green Gallery on 57th Street in Manhattan. In 1960, Martha Jackson showed installations and assemblages, New Media – New Forms featured Hans Arp, Kurt Schwitters, Jasper Johns, Claes Oldenburg, Robert Rauschenberg, Jim Dine and May Wilson. 1961 was the twelvemonth of Martha Jackson'south leap 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, one for every flavor. Warhol sold the ready of paintings to Blum for $ane,000; in 1996, when the Museum of Modernistic Art acquired information technology, the set was valued at $15 million.[xix]

Donald Factor, the son of Max Factor Jr., and an fine art collector and co-editor of avant-garde literary magazine Nomad, wrote an essay in the mag's terminal issue, Nomad/New York. The essay was one of the first on what would become known as pop art, though Factor did not utilize 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 motion, 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; fine art critic Barbara Rose; and screenwriter Rudy Wurlitzer.[37] His first wife, Patty Mucha, who sewed many of his early soft sculptures, was a abiding performer in his happenings. This brash, frequently humorous, approach to art was at cracking odds with the prevailing sensibility that, past its nature, art dealt with "profound" expressions or ideas. In Dec 1961, he rented a store on Manhattan's Lower East Side to house The Store, a month-long installation he had first presented at the Martha Jackson Gallery in New York, stocked with sculptures roughly in the form of consumer goods.[37]

Opening in 1962, Willem de Kooning's New York fine 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 Love 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 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 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 endemic a number of de Kooning's works. Rosenquist recalled: "at that moment I thought, something in the art world has definitely inverse".[19] Turning away a respected abstruse artist proved that, as early as 1962, the popular art movement had begun to boss art culture in New York.

A scrap before, on the W 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 Urban center; and Wayne Thiebaud from California were included in the New Painting of Common Objects bear witness. This first pop fine art museum exhibition in America was curated by Walter Hopps at the Pasadena Art Museum.[39] Popular 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 evidence was presented as a typical pocket-size supermarket surroundings, except that everything in it—the produce, canned appurtenances, meat, posters on the wall, etc.—was created past prominent pop artists of the time, including Apple tree, Warhol, Lichtenstein, Wesselmann, Oldenburg, and Johns. This project was recreated in 2002 equally part of the Tate Gallery's Shopping: A Century of 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 first commercial one-man show. The Ferus Gallery presented Andy Warhol in Los Angeles (and Ed Ruscha in 1963). In New York, the Green Gallery showed Rosenquist, Segal, Oldenburg, and Wesselmann. The Stable Gallery showed R. Indiana and Warhol (in his showtime New York show). The Leo Castelli Gallery presented Rauschenberg, Johns, and Lichtenstein. Martha Jackson showed Jim Dine and Allen Stone showed Wayne Thiebaud. Past 1966, later on 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 represent Thiebaud, and Martha Jackson continued representing Robert Indiana.[42]

In 1968, the São Paulo 9 Exhibition – Surround UsaA.: 1957–1967 featured the "Who's Who" of pop 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]

France [edit]

Nouveau réalisme refers to an creative movement founded in 1960 past the 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 Declaration of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new ways of perceiving the real."[45] This articulation announcement was signed on 27 October 1960, in Yves Klein's workshop, by nine people: Yves Klein, Arman, Martial Raysse, Pierre Restany, Daniel Spoerri, Jean Tinguely and the Ultra-Lettrists, Francois Dufrêne, Raymond Hains, Jacques de la Villeglé; in 1961 these were joined by César, Mimmo Rotella, and then Niki de Saint Phalle and Gérard Deschamps. The artist Christo showed with the group. It was dissolved in 1970.[45]

Contemporary of American Pop Art—frequently conceived as its transposition in France—new realism was along with Fluxus and other groups one of the numerous tendencies of the avant-garde in the 1960s. The group initially chose Nice, on the French Riviera, equally its habitation base since Klein and Arman both originated there; new realism is thus oftentimes 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 linguistic communication, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Restany; to a "poetic recycling of urban, industrial and ad 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 pop fine art tendency, on account of his interest in the environment, his critique of our media culture which incorporates icons of both mass media advice and the history of painting, and his scorn for nearly all established creative styles. However, the Castilian creative person who could be considered almost 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 Castilian pop art is the "Chronicle Squad" (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 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 viii pop art movies, and he was subsequently called the Andy Warhol of Spain by the media at the time. In the volume Almodovar on Almodovar, he is quoted as saying that the 1950s film "Funny Face" was a central inspiration for his piece of work. I pop trademark in Almodovar's 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 pop-centered, idealised representation of classically Kiwi icons, such equally 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 ways that parody mod culture. For example, Frizzell enjoys imitating the work of strange artists, giving their works a unique New Zealand view or influence. This is done to show New Zealand'due south historically subdued impact on the world; naive art is connected to Aotearoan pop art this way.[49]

This tin can be also done in an annoying and deadpan way, every bit with Michel Tuffrey'south famous work Pisupo Lua Afe (Corned Beef 2000). Of Samoan beginnings, Tuffery synthetic the piece of work, which represents a bull, out of candy food cans known as pisupo. It is a unique piece of work of western popular art because Tuffrey includes themes of neocolonialism and racism against non-western cultures (signified by the nutrient cans the work is fabricated of, which represent economical dependence brought on Samoans by the west). The undeniable indigenous viewpoint makes it stand out against more than mutual not-indigenous works of pop art.[50] [51]

One of New Zealand's earliest and famous pop artists is Baton Apple, 1 of the few not-British members of the Royal Society of British Artists. Featured amongst the likes of David Hockney, American R.B. Kitaj and Peter Blake in the January 1961 RBA exhibition Young Contemporaries, Apple tree 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 advent likewise every bit name, so bleached his pilus and eyebrows with Lady Clairol Instant Creme Whip. Later, Apple was associated with the 1970s Conceptual Fine art movement. [52]

Japan [edit]

In Japan, pop art evolved from the nation's prominent avant-garde scene. The use of images of the modernistic world, copied from magazines in the photomontage-way paintings produced by Harue Koga in the belatedly 1920s and early 1930s, foreshadowed elements of pop art.[53] The Japanese Gutai motility led to a 1958 Gutai exhibition at Martha Jackson's New York gallery that preceded past two years her famous New Forms New Media bear witness 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 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 as commissions from The Beatles, Marilyn Monroe, and Elizabeth Taylor, among others.[57] Some other leading pop artist at that time was Keiichi Tanaami. Iconic characters from Japanese manga and anime have also become symbols for pop art, such every bit Speed Racer and Astro Male child. Japanese manga and anime besides influenced later pop artists such as Takashi Murakami and his superflat movement.

Italy [edit]

In Italia, by 1964, pop 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 exist precise, rightly considered the forerunners of this scene. In fact, information technology was around 1958–1959 that Baj and Rotella abandoned their previous careers (which might be generically divers as belonging to a non-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 effectually them. Rotella'southward torn posters showed an ever more figurative 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 "gold 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, road signs, television, 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 aforementioned ideological path equally that of the international scene. The only thing that changes is the iconography and, in some cases, the presence of a more critical attitude toward it. Even in this instance, the prototypes can exist traced dorsum to the works of Rotella and Baj, both far from neutral in their relationship with society. Yet this is not an exclusive element; in that location is a long line of artists, including Gianni Ruffi, Roberto Barni, Silvio Pasotti, Umberto Bignardi, and Claudio Cintoli, who take on reality as a toy, every bit a great pool of imagery from which to draw cloth with disenchantment and frivolity, questioning the traditional linguistic role models with a renewed spirit of "allow me accept 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 one of the Apollo missions, likewise every bit by other notable pop artists. Internationally recognized artists such as Marcel Broodthaers ( 'vous êtes doll? "), Evelyne Axell and Panamarenko are indebted to the pop art motility; 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 stop of the 1960s and early 1970s, popular art references disappeared from the piece of work of some of these artists when they started to prefer a more critical attitude towards America because of the Vietnam War's increasingly gruesome character. Panamarenko, withal, has retained the irony inherent in the popular art movement upwardly to the nowadays 24-hour interval. Evelyne Axell from Namur was a prolific popular-artist in the 1964–1972 period. Axell was i of the get-go female popular artists, had been mentored by Magritte and her best-known painting is Ice Cream.[59]

Netherlands [edit]

While there was no formal pop fine art movement in the Netherlands, there were a grouping of artists that spent time in New York during the early years of pop fine art, and drew inspiration from the international popular art motion. Representatives of Dutch pop 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 past creating humorous works with a serious undertone. Examples of this nature include Sexual activity O'Clock, past Woody van Amen, and Crucifix / Target, by Jacques Frenken.[60]

Russia [edit]

Russia was a little late to become part of the pop art movement, and some of the artwork that resembles pop art only surfaced around the early 1970s, when Russia was a communist country and bold artistic statements were closely monitored. Russian federation'due south own version of pop fine art was Soviet-themed and was referred to equally Sots Art. Later on 1991, the Communist Party lost its ability, and with it came a freedom to express. Pop art in Russian federation took on some other 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 class of pop art.[61]

Notable artists [edit]

  • Baton Apple (1935-2021)
  • Evelyne Axell (1935–1972)
  • Sir Peter Blake (built-in 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 (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 (built-in 1937)
  • Dorothy Iannone (born 1933)
  • Robert Indiana (1928–2018)
  • Jasper Johns (born 1930)
  • Ray Johnson (1927-1995)
  • Allen Jones (born 1937)
  • Alex Katz (built-in 1927)
  • Corita Kent (1918–1986)
  • Konrad Klapheck (born 1935)
  • Kiki Kogelnik (1935–1997)
  • Nicholas Krushenick (1929–1999)
  • Yayoi Kusama (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 (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 (built-in 1934)
  • George Segal (1924–2000)
  • Colin Cocky (born 1941)
  • Marjorie Strider (1931–2014)
  • Elaine Sturtevant (1924-2014)
  • Wayne Thiebaud (built-in 1920)
  • Joe Tilson (built-in 1928)
  • Andy Warhol (1928–1987)
  • Idelle Weber (1932–2020)
  • John Wesley (built-in 1928)
  • Tom Wesselmann (1931–2004)

Run into besides [edit]

  • Art pop
  • Chicago Imagists
  • Ferus Gallery
  • Sidney Janis
  • Leo Castelli
  • Light-green Gallery
  • New Painting of Common Objects
  • Figuration Libre (fine art movement)
  • Lowbrow (art movement)
  • 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 e Livingstone, G., Pop Art: A Standing History, New York: Harry N. Abrams, Inc., 1990
  3. ^ a b c de la Croix, H.; Tansey, R., Gardner's Art Through the Ages, New York: Harcourt Brace Jovanovich, Inc., 1980.
  4. ^ a b c d east f Piper, David. The Illustrated History of Art, ISBN 0-7537-0179-0, p486-487.
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  25. ^ "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 non?"' Since Rauschenberg is considered to exist a pioneer in pop art, this is probably where the movement went off on its particular tangent. Why not make art out of erstwhile newspapers, $.25 of vesture, 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 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, Marking and Foster, Hal (2010) Pop. London and New York: Phaidon.
  • Haskell, Barbara (1984) BLAM! The Explosion of Pop, Minimalism and Functioning 1958–1964. New York: W.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 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 (Apr 1963) "A symposium on Pop Fine art" Arts Mag, pp. 36–45. Transcript of symposium held at the Museum of Modern Fine art on Dec 13, 1962.

External links [edit]

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

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