Which of the Following Is a Common Characteristic of Pop Art Design?

Fine art move

Pop fine art is an art movement that emerged in the United Kingdom and the U.s. during the mid- to tardily-1950s.^{[1] [ii]} The movement presented a claiming to traditions of fine art past including imagery from pop and mass civilization, such as advertizement, comic books and mundane mass-produced objects. Ane of its aims is to use images of popular (as opposed to elitist) culture in fine art, emphasizing the banal or kitschy elements of any culture, most often through the utilize of irony.^[3] It is too associated with the artists' use of mechanical means of reproduction or rendering techniques. In popular art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material.^{[ii] [3]}

Amongst the early artists that shaped the popular fine art movement 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 as a reaction to the then-dominant ideas of abstruse expressionism, as well as an expansion of those ideas.^[4] Due to its utilization of plant objects and images, it is similar to Dada. Popular art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of postmodern art themselves.^[5]

Pop fine art often takes imagery that is currently in utilise in advertising. Product labeling and logos effigy prominently in the imagery chosen past pop artists, seen in the labels of Campbell's Soup Cans, by Andy Warhol. Fifty-fifty the labeling on the outside of a shipping box containing food items for retail has been used as subject field matter in pop art, every bit demonstrated by Warhol'due south Campbell'southward Tomato plant Juice Box, 1964 (pictured).

Origins [edit]

The origins of popular art in North America developed differently from Bully U.k..^[three] In the U.s., pop art was a response by artists; it marked a return to hard-edged composition and representational fine art. They used impersonal, mundane reality, irony, and parody to "defuse" the personal symbolism and "painterly looseness" of abstract expressionism.^{[4] [half-dozen]} In the U.Southward., some artwork past Larry Rivers, Alex Katz and Man Ray anticipated pop art.^[7]

By dissimilarity, the origins of pop fine art in mail-War Britain, while employing irony and parody, were more academic. United kingdom focused on the dynamic and paradoxical imagery of American pop culture every bit powerful, manipulative symbolic devices that were affecting whole patterns of life, while simultaneously improving the prosperity of a guild.^[6] Early pop art in Great britain was a matter of ideas fueled by American popular civilisation when viewed from distant.^[4] Similarly, pop art was both an extension and a repudiation of Dadaism.^[four] While pop art and Dadaism explored some of the same subjects, pop fine art replaced the destructive, satirical, and anarchic impulses of the Dada motion with a detached affirmation of the artifacts of mass civilisation.^[4] 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 pop art began during the 1950s, Marcel Duchamp and others in Europe like Francis Picabia and Human being Ray predate the movement; in addition there were some earlier American proto-pop origins which utilized "as found" cultural objects.^[4] During the 1920s, American artists Patrick Henry Bruce, Gerald Murphy, Charles Demuth and Stuart Davis created paintings that contained pop culture imagery (mundane objects culled from American commercial products and advertising design), almost "prefiguring" the pop art motion.^{[eight] [9]}

United kingdom of great britain and northern ireland: the Independent Grouping [edit]

The Independent Group (IG), founded in London in 1952, is regarded every bit the precursor to the pop art movement.^{[2] [10]} They were a gathering of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to civilisation also equally traditional views of fine art. Their group discussions centered on popular civilisation implications from elements such as mass advertising, movies, production blueprint, comic strips, scientific discipline fiction and engineering. At the get-go Contained 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 textile of "institute objects" such as advertisement, comic volume characters, magazine covers and various mass-produced graphics generally represented American popular civilization. One of the collages in that presentation was Paolozzi's I was a Rich Man'due south Plaything (1947), which includes the starting time utilise of the word "pop", appearing in a cloud of smoke emerging from a revolver.^{[ii] [11]} Following Paolozzi's seminal presentation in 1952, the IG focused primarily on the imagery of American pop culture, particularly mass advert.^{[half dozen]}

Co-ordinate to the son of John McHale, the term "pop fine art" was commencement coined by his father in 1954 in chat with Frank Cordell,^[12] although other sources credit its origin to British critic Lawrence Alloway.^{[xiii] [14]} (Both versions concur 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 Second Session of the IG in 1955, and the specific term "pop art" first appeared in published print in the commodity "But Today Nosotros Collect Ads" past IG members Alison and Peter Smithson in Ark magazine in 1956.^[15] However, the term is often credited to British art critic/curator Lawrence Alloway for his 1958 essay titled The Arts and the Mass Media, even though the precise linguistic communication he uses is "popular mass culture".^[sixteen] "Furthermore, what I meant by it and then is not what information technology ways now. I used the term, and besides 'Pop Culture' to refer to the products of the mass media, not to works of fine art that describe upon popular culture. In any instance, sometime between the winter of 1954–55 and 1957 the phrase caused 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-scale galleries to a major force in the artworld. But its success had not been in England. Practically simultaneously, and independently, New York Urban center had become the hotbed for Popular Art.^[17]

In London, the annual Royal Society of British Artists (RBA) exhibition of immature talent in 1960 get-go showed American pop influences. In January 1961, the near famous RBA-Immature 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.^[xviii] 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 Royal College's 1961 summer break, which is when Apple kickoff fabricated contact with Andy Warhol – both later moved to the United states and Apple became involved with the New York pop art scene.^[18]

United states [edit]

Although popular art began in the early 1950s, in America it 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 Mod Art.^[19] 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 distance art from the well-designed and clever commercial materials.^[vi] As the British viewed American popular 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 multifariousness of mass-produced imagery, produced work that was generally more bold and aggressive.^[10]

Co-ordinate to historian, curator and critic Henry Geldzahler, "Ray Johnson'southward collages Elvis Presley No. i and James Dean stand as the Plymouth Rock of the Pop movement."^[20] Author Lucy Lippard wrote that "The Elvis ... and Marilyn Monroe [collages] ... heralded Warholian 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 advertisement his design services printed via commencement lithography. He later became known every bit the father of mail fine art as the founder of his "New York Correspondence School," working small by stuffing clippings and drawings into envelopes rather than working larger similar his contemporaries.^[22] A note nigh the cover image in January 1958's Art News pointed out that "[Jasper] Johns' start one-human show ... 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'southward pop art vocabulary were the painters Jasper Johns and Robert Rauschenberg.^[10] Rauschenberg, who like Ray Johnson attended Black Mountain College in N Carolina subsequently World War Two, was influenced by the before piece of 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 time.^[24] His employ 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. also iii-dimensional depictions of ale cans drew attention to questions of representation in fine art.^[27] Johns' and Rauschenberg's work of the 1950s is ofttimes referred to every bit Neo-Dada, and is visually distinct from the prototypical American pop art which exploded in the early 1960s.^{[28] [29]}

Roy Lichtenstein is of equal importance to American popular art. His piece of work, and its use of parody, probably defines the basic premise of pop art better than whatsoever other.^[10] Selecting the old-fashioned comic strip equally subject affair, Lichtenstein produces a hard-edged, precise composition that documents while also parodying in a soft way. Lichtenstein used oil and Magna paint in his best known works, such equally Drowning Girl (1963), which was appropriated from the lead story in DC Comics' Secret Hearts #83. (Drowning Girl is part of the drove of the Museum of Modern Art.)^[thirty] His work features thick outlines, bold colors and Ben-Day dots to represent sure colors, as if created past photographic reproduction. Lichtenstein said, "[abstract expressionists] put things down on the canvass and responded to what they had done, to the color positions and sizes. My style looks completely different, only 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 art merges popular and mass civilisation with fine art while injecting humor, irony, and recognizable imagery/content into the mix.

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

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

Early U.S. exhibitions [edit]

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

Claes Oldenburg, Jim Dine and Tom Wesselmann had their kickoff shows in the Judson Gallery in 1959 and 1960 and afterward in 1960 through 1964 forth with James Rosenquist, George Segal and others at the Greenish 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 showtime solo exhibition in Los Angeles in July 1962 at Irving Blum's Ferus Gallery, where he showed 32 paintings of Campell's soup cans, 1 for every season. Warhol sold the set of paintings to Blum for $1,000; in 1996, when the Museum of Modern Art acquired it, the set was valued at $15 million.^[nineteen]

Donald Factor, the son of Max Cistron Jr., and an art collector and co-editor of advanced literary magazine Nomad, wrote an essay in the mag's last issue, Nomad/New York. The essay was i of the beginning on what would become known as popular art, though Gene did not use 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 name he gave to his own productions was "Ray Gun Theater". The bandage of colleagues in his performances included: artists Lucas Samaras, Tom Wesselmann, Carolee Schneemann, Öyvind Fahlström and Richard Artschwager; dealer Annina Nosei; fine art critic Barbara Rose; and screenwriter Rudy Wurlitzer.^[37] His commencement wife, Patty Mucha, who sewed many of his early on soft sculptures, was a constant performer in his happenings. This brash, frequently humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a shop on Manhattan'south Lower E Side to house The Store, a calendar month-long installation he had beginning presented at the Martha Jackson Gallery in New York, stocked with sculptures roughly in the form 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 fine art. The l-iv artists shown included Richard Lindner, Wayne Thiebaud, Roy Lichtenstein (and his painting Blam), Andy Warhol, Claes Oldenburg, James Rosenquist, Jim Dine, Robert Indiana, Tom Wesselmann, George Segal, Peter Phillips, Peter Blake (The Love Wall from 1961), Öyvind Fahlström, Yves Klein, Arman, Daniel Spoerri, Christo and Mimmo Rotella. The evidence was seen past Europeans Martial Raysse, Niki de Saint Phalle and Jean Tinguely in New York, who were stunned by the size and expect 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, simply gained Dine, Oldenburg, Segal and Wesselmann.^[38] At an opening-night soiree thrown by collector Burton Tremaine, Willem de Kooning appeared and was turned away by Tremaine, who ironically owned a number of de Kooning's works. Rosenquist recalled: "at that moment I thought, something in the art world has definitely changed".^[nineteen] Turning away a respected abstract creative person proved that, equally early as 1962, the pop 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 Urban center; 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 Mutual Objects show. This first popular art museum exhibition in America was curated by Walter Hopps at the Pasadena Art Museum.^[39] Pop art was ready to change the art world. New York followed Pasadena in 1963, when the Guggenheim Museum exhibited Six Painters and the Object, curated by Lawrence Alloway. The artists were Jim Dine, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist, and Andy Warhol.^[twoscore] Another pivotal early exhibition was The American Supermarket organised by the Bianchini Gallery in 1964. The show was presented as a typical small supermarket environment, 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 equally part of the Tate Gallery's Shopping: A Century of Fine 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 showtime commercial one-man testify. 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 showtime New York evidence). The Leo Castelli Gallery presented Rauschenberg, Johns, and Lichtenstein. Martha Jackson showed Jim Dine and Allen Rock showed Wayne Thiebaud. By 1966, after the Greenish Gallery and the Ferus Gallery closed, the Leo Castelli Gallery represented Rosenquist, Warhol, Rauschenberg, Johns, Lichtenstein and Ruscha. The Sidney Janis Gallery represented Oldenburg, Segal, Dine, Wesselmann and Marisol, while Allen Stone continued to correspond Thiebaud, and Martha Jackson continued representing Robert Indiana.^[42]

In 1968, the São Paulo nine Exhibition – Environment U.South.A.: 1957–1967 featured the "Who's Who" of popular art. Considered as a summation of the classical phase of the American pop fine 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 art critic Pierre Restany^[44] and the artist Yves Klein during the start collective exposition in the Apollinaire gallery in Milan. Pierre Restany wrote the original manifesto for the grouping, titled the "Constitutive Annunciation of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new means of perceiving the existent."^[45] This joint declaration was signed on 27 October 1960, in Yves Klein's workshop, by ix people: Yves Klein, Arman, Martial Raysse, Pierre Restany, Daniel Spoerri, Jean Tinguely and the Ultra-Lettrists, Francois Dufrêne, Raymond Hains, Jacques de la Villeglé; in 1961 these were joined by César, Mimmo Rotella, 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—often conceived as its transposition in France—new realism was along with Fluxus and other groups one of the numerous tendencies of the advanced in the 1960s. The group initially chose Prissy, on the French Riviera, as its home base since Klein and Arman both originated at that place; new realism is thus often retrospectively considered past historians to be an early representative of the École de Overnice [fr] movement.^[46] In spite of the diversity of their plastic language, they perceived a common basis for their piece of 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 advertizing reality".^[47]

Spain [edit]

In Spain, the written report of popular art is associated with the "new figurative", which arose from the roots of the crunch of informalism. Eduardo Approach could be said to fit within the pop fine art trend, on account of his interest in the environment, his critique of our media civilization which incorporates icons of both mass media advice and the history of painting, and his contemptuousness for well-nigh all established artistic styles. However, the Spanish creative person who could be considered virtually authentically function of "pop" fine art is Alfredo Alcaín, because of the use he makes of popular images and empty spaces in his compositions.

Likewise in the category of Spanish 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 as "popular" 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 depression budget super 8 pop fine art movies, and he was subsequently called the Andy Warhol of Espana by the media at the time. In the book Almodovar on Almodovar, he is quoted as saying that the 1950s flick "Funny Face" was a central inspiration for his piece of work. One pop trademark in Almodovar'south films is that he always produces a fake commercial to be inserted into a scene.

New Zealand [edit]

In New Zealand, pop fine art has predominately flourished since the 1990s, and is often connected to Kiwiana. Kiwiana is a pop-centered, idealised representation of classically Kiwi icons, such as meat pies, kiwifruit, tractors, jandals, Four Foursquare supermarkets; the inherent campness of this is often subverted to signify cultural messages.^[48] Dick Frizzell is a famous New Zealand pop artist, known for using older Kiwiana symbols in ways that parody modern culture. For case, Frizzell enjoys imitating the work of foreign artists, giving their works a unique New Zealand view or influence. This is washed to evidence New Zealand'southward historically subdued impact on the world; naive fine art is connected to Aotearoan pop art this way.^[49]

This can be also washed in an annoying and deadpan style, every bit with Michel Tuffrey's famous piece of work Pisupo Lua Afe (Corned Beefiness 2000). Of Samoan ancestry, Tuffery constructed the work, which represents a balderdash, out of processed nutrient cans known equally 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 food cans the work is fabricated of, which represent economic dependence brought on Samoans by the westward). The undeniable indigenous viewpoint makes it stand out against more common non-indigenous works of pop art.^{[50] [51]}

One of New Zealand's earliest and famous popular artists is Billy Apple tree, one of the few non-British members of the Majestic Club of British Artists. Featured amongst the likes of David Hockney, American R.B. Kitaj and Peter Blake in the January 1961 RBA exhibition Immature Contemporaries, Apple apace became an iconic international artist of the 1960s. This was before he conceived his moniker of 'Baton Apple", and his work was displayed under his birth proper name of Barrie Bates. He sought to distinguish himself past advent as well equally proper name, so bleached his hair and eyebrows with Lady Clairol Instant Creme Whip. Later on, Apple tree was associated with the 1970s Conceptual Art movement. ^[52]

Nihon [edit]

In Japan, popular art evolved from the nation's prominent avant-garde scene. The use of images of the modern world, copied from magazines in the photomontage-style paintings produced by Harue Koga in the tardily 1920s and early on 1930s, foreshadowed elements of popular art.^[53] The Japanese Gutai movement led to a 1958 Gutai exhibition at Martha Jackson'due south New York gallery that preceded by ii years her famous New Forms New Media show that put Popular Art on the map.^[54] The piece of 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 popular artists and an international symbol for Japanese pop 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] Some other leading popular artist at that time was Keiichi Tanaami. Iconic characters from Japanese manga and anime have as well become symbols for popular art, such every bit Speed Racer and Astro Boy. Japanese manga and anime also influenced later pop artists such every bit Takashi Murakami and his superflat movement.

Italy [edit]

In Italy, by 1964, pop art was known and took different 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 fine art originated in 1950s culture – the works of the artists Enrico Baj and Mimmo Rotella to be precise, rightly considered the forerunners of this scene. In fact, information technology was around 1958–1959 that Baj and Rotella abandoned their previous careers (which might be generically defined as belonging to a non-representational genre, despite being thoroughly post-Dadaist), to catapult themselves into a new globe of images, and the reflections on them, which was springing up all around them. Rotella's torn posters showed an always more figurative taste, often explicitly and deliberately referring to the nifty icons of the times. Baj's compositions were steeped in contemporary kitsch, which turned out to be a "golden mine" of images and the stimulus for an entire generation of artists.

The novelty came from the new visual panorama, both inside "domestic walls" and out-of-doors. Cars, road signs, television, all the "new earth", everything can belong to the world of fine art, which itself is new. In this respect, Italian pop art takes the same ideological path equally that of the international scene. The only thing that changes is the iconography and, in some cases, the presence of a more critical attitude toward it. Even in this case, the prototypes tin be traced back to the works of Rotella and Baj, both far from neutral in their human relationship with lodge. Yet 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 accept on reality as a toy, as a swell pool of imagery from which to depict cloth with disenchantment and frivolity, questioning the traditional linguistic office models with a renewed spirit of "let me have fun" à la Aldo Palazzeschi.^[58]

Belgium [edit]

In Belgium, pop art was represented to some extent by Paul Van Hoeydonck, whose sculpture Fallen Astronaut was left on the Moon during i of the Apollo missions, too as by other notable pop artists. Internationally recognized artists such every bit Marcel Broodthaers ( 'vous êtes doll? "), Evelyne Axell and Panamarenko are indebted to the pop art motility; Broodthaers'southward smashing influence was George Segal. Another well-known artist, Roger Raveel, mounted a birdcage with a real live pigeon in one of his paintings. Past 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'south increasingly gruesome character. Panamarenko, however, has retained the irony inherent in the pop art motility up to the nowadays twenty-four hours. Evelyne Axell from Namur was a prolific popular-artist in the 1964–1972 menses. Axell was one of the start female person pop artists, had been mentored past Magritte and her best-known painting is Ice Cream.^[59]

Netherlands [edit]

While in that location was no formal pop art motility in the netherlands, there were a group of artists that spent time in New York during the early on years of pop fine art, and drew inspiration from the international pop fine art motion. 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, by Woody van Amen, and Crucifix / Target, past Jacques Frenken.^[60]

Russia [edit]

Russia was a picayune late to become part of the pop fine art move, and some of the artwork that resembles pop fine art only surfaced around the early 1970s, when Russian federation was a communist country and bold artistic statements were closely monitored. Russia's ain version of pop art was Soviet-themed and was referred to as Sots Art. After 1991, the Communist Party lost its power, and with information technology 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 Mortiferous Beloved 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 form of popular 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 (built-in 1932)
• Marisol Escobar (1930–2016)
• James Gill (born 1934)
• Dorothy Grebenak (1913-1990)
• Red Grooms (built-in 1937)
• Richard Hamilton (1922–2011)
• Keith Haring (1958–1990)
• Jann Haworth (born 1942)
• David Hockney (born 1937)
• Dorothy Iannone (born 1933)
• Robert Indiana (1928–2018)
• Jasper Johns (born 1930)
• Ray Johnson (1927-1995)
• Allen Jones (born 1937)
• Alex Katz (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 (born 1929)
• Julian Opie (born 1958)
• Eduardo Paolozzi (1924–2005)
• Peter Phillips (born 1939)
• Sigmar Polke (1941–2010)
• Hariton Pushwagner (1940–2018)
• Mel Ramos (1935–2018)
• Robert Rauschenberg (1925–2008)
• Larry Rivers (1923–2002)
• James Rizzi (1950–2011)
• James Rosenquist (1933–2017)
• Niki de Saint Phalle (1930–2002)
• Peter Saul (built-in 1934)
• George Segal (1924–2000)
• Colin Self (born 1941)
• Marjorie Strider (1931–2014)
• Elaine Sturtevant (1924-2014)
• Wayne Thiebaud (built-in 1920)
• Joe Tilson (born 1928)
• Andy Warhol (1928–1987)
• Idelle Weber (1932–2020)
• John Wesley (born 1928)
• Tom Wesselmann (1931–2004)

Encounter also [edit]

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

References [edit]

1. ^ Popular Art: A Brief History, MoMA Learning
2. ^ ^{a b c d e} Livingstone, M., Pop Art: A Continuing History, New York: Harry Due north. Abrams, Inc., 1990
3. ^ ^{a b c} de la Croix, H.; Tansey, R., Gardner'southward Art Through the Ages, New York: Harcourt Brace Jovanovich, Inc., 1980.
4. ^ ^{a b c d e 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.
6. ^ ^{a b c d} Gopnik, A.; Varnedoe, K., High & Depression: Mod Art & Popular Civilisation, New York: The Museum of Mod Art, 1990
7. ^ "History, Travel, Arts, Scientific discipline, People, Places | Smithsonian". Smithsonianmag.com . Retrieved 2015-12-30 .
8. ^ "Modern Love". The New Yorker. 2007-08-06. Retrieved 2015-12-30 .
9. ^ Wayne Craven, American Art: History and . p.464.
10. ^ ^{a b c d e f g} Arnason, H., History of Modern Art: Painting, Sculpture, Compages, New York: Harry N. Abrams, Inc. 1968.
11. ^ "'I was a Rich Man's Plaything', Sir Eduardo Paolozzi". Tate. 2015-12-10. Retrieved 2015-12-thirty .
12. ^ "John McHale". Warholstars.org . Retrieved 2015-12-xxx .
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14. ^ "Pop art", The Concise Oxford Dictionary of Art Terms, Michael Clarke, Oxford University Press, 2001.
15. ^ Alison and Peter Smithson, "Only Today We Collect Ads", reprinted on page 54 in Modern Dreams The Rise and Fall of Popular, published by ICA and MIT, ISBN 0-262-73081-2
16. ^ Lawrence Alloway, "The Arts and the Mass Media," Architectural Blueprint & Structure, Feb 1958.
17. ^ ^{a b} Klaus Honnef, Popular Art, Taschen, 2004, p. half dozen, ISBN 3822822183
18. ^ ^{a b} Barton, Christina (2010). Billy Apple tree: British and American Works 1960–69. London: The Mayor Gallery. pp. eleven–21. ISBN978-0-9558367-three-2.
19. ^ ^{a b c d} Scherman, Tony. "When Pop Turned the Art Globe Upside Downward." American Heritage 52.ane (February 2001), 68.
20. ^ Geldzahler, Henry in Pop Fine art: 1955–1970 catalogue, Fine art Gallery of New South Wales, Sydney, 1985
21. ^ Lippard, Lucy in Ray Johnson: Correspondences catalogue, Wexner Centre/Whitney Museum, 2000
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23. ^ Author unknown. "(Tabular array of contents, Untitled note about cover.)", Art News, vol. 56, no. nine, Jan 1958
24. ^ Rauschenberg, Robert; Miller, Dorothy C. (1959). Sixteen Americans [exhibition]. New York: Museum of Mod Art. p. 58. ISBN 978-0029156704. OCLC 748990996. "Painting relates to both fine art and life. Neither can be made. (I try to human activity in that gap between the two.)"
25. ^ "Art: Pop 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 retrieve, "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 fine art out of old newspapers, bits of habiliment, 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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36. ^ Diggory (2013).
37. ^ ^{a b} Kristine McKenna (July 2, 1995), When Bigger Is Meliorate: Claes Oldenburg has spent the past 35 years blowing upwards and redefining everyday objects, all in the proper name of getting fine art off its pedestal Los Angeles Times.
38. ^ Reva Wolf (1997-11-24). Andy Warhol, Poesy, and Gossip in the 1960s. p. 83. ISBN9780226904931 . Retrieved 2015-12-xxx .
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40. ^ Half dozen painters and the object. Lawrence Alloway [curator, conceived and prepared this exhibition and the catalogue] (Figurer file). 2009-07-24. OCLC 360205683.
41. ^ Gayford, Martin (2002-12-19). "Nevertheless life at the bank check-out". The Telegraph. Telegraph Media Group Ltd. Archived from the original on 2022-01-xi. Retrieved 28 Nov 2012.
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45. ^ ^{a b} Kerstin Stremmel, Realism, Taschen, 2004, p. xiii. ISBN 3-8228-2942-0
46. ^ Rosemary M. O'Neill, Fine art and Visual Culture on the French Riviera, 1956–1971: The Ecole de Prissy, Ashgate, 2012, p. 93.
47. ^ threescore/90. Trente ans de Nouveau Réalisme, La Différence, 1990, p. 76
48. ^ "Op + Pop". christchurchartgallery.org.nz . Retrieved 2021-07-22 .
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52. ^ "ARTSPACE - Billy Apple". 2013-02-09. Archived from the original on 2013-02-09. Retrieved 2021-07-29 .
53. ^ Eskola, Jack (2015). Harue Koga: David Bowie of the Early on 20th Century Japanese Art Avant-garde. Kindle, eastward-book.
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56. ^ [1] Archived November 1, 2012, at the Wayback Machine
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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 School Poets (Facts on File Library of American Literature). ISBN 978-1-4381-4066-7
• Francis, Mark and Foster, Hal (2010) Popular. London and New York: Phaidon.
• Haskell, Barbara (1984) BLAM! The Explosion of Pop, Minimalism and Performance 1958–1964. New York: West.W. Norton & Company, Inc. in clan 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 (April 1963) "A symposium on Pop Fine art" Arts Magazine, pp. 36–45. Transcript of symposium held at the Museum of Mod Fine art on December 13, 1962.

External links [edit]

Wikimedia Commons has media related to Pop fine art.

Wikiquote has quotations related to: Popular art

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

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

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