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Art 271 Pop Art



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  • 1. Art 271
    Ch. 19 Pop Art
  • 2. Looking ahead
    Today: Lecture on Assemblage, Happenings, Pop Art: Ch. 19
    Tues. 11/17: Film: Andy Warhol. Also, discussion about MAG Paper due Thurs. Dec. 3rd
    Thurs. 11/19: Ch. 20, Sixties Abstraction: Minimalism
  • 3. 1950s & 1960s
    Beat Background
    Pop Art
  • 4. Historical Background: 1950s Conventional America: Emphasis on the nuclear family: TV’s ‘Leave it to Beaver’
  • 5. 1950s Beat Generation Background
    “I saw the best minds of my generation destroyed by madness, starving hysterical naked.”
    – Howl, 1955
    Allen Ginsberg, Howl, 1955
  • 6. 1950s Beat Culture BackgroundOn the Road, 1957
    Zen Buddhism
  • 7. Art Movement: Assemblage (also called Neo-Dada)
    Artists gather seemingly random objects and put them together in unruly compositions to see what kind of meanings might emerge
    Emphasis on everyday surroundings for subject matter
    Create their works from the “refuse” of modern society
    Artists: Robert Rauschenberg, Jasper Johns
    Influences: Composer John Cage, Artist Marcel Duchamp (Dada)
  • 8. Morris Louis, Saraband, 1959, over 8’ x 12’
  • 9. Robert Rauschenberg, Canyon, 1959,Jasper Johns, Three Flags, 1958, encaustic on canvas
  • 10. Marcel Duchamp, Bicycle Wheel, 1913 &Fountain, 1917 Readymades
  • 11. John Cage, 1952
    composer known for 4’ 33”
    – silent piece
  • 12. Robert Rauschenberg (1925-2008)
  • 13. 19.28, Robert Rauschenberg, Bed, Combine painting: oil and pencil on pillow, quilt, and sheet on wood supports, MOMA
    “Combine” – combination of painting and sculpture
  • 14. 19.29, Robert Rauschenberg, Monogram, 1955-59Combine - combination of painting & sculpture
  • 15. 19.30, Robert Rauschenberg, Estate, 1963. Oil on silkscreen ink on canvas, 8’ x 5’10”
  • 16. Jasper Johns (b. 1930)
  • 17. Assemblage
    Both Johns and Rauschenberg move away from individual personal expression and fixed identity associated with Abstract Expressionism toward an identity shaped by factors from the outside environment.
  • 18. 19.31, Jasper Johns, Flags, 1954-55. Encaustic oil and collage on fabric mounted on plywood. MOMA
  • 19. 19.32, Jasper Johns, Target with Plaster Casts, 1955. Encaustic and collage on canvas with wood construction and plaster casts. 51 x 44 x 3 ½ inches
  • 20. Art Movement: Happenings
    Purpose: to call into question the idea that a work of art was an enduring record of artistic genius
    Sought to integrate art with life and extend art into a theatrical situation
    Approach: Ephemeral works; chance; mixed media
    **Audience is necessary to “activate” the work of art
    Influenced by:
    John Cage
    Dadaism (Duchamp)
    Action Painting
    Artist: Allan Kaprow
  • 21. Happenings, Allan Kaprow, Yard, 1961
    Early to mid 1960s
    Name Happening from Allan Kaprow’s 1st show at N.Y.’s Reuben Gallery 1959.
  • 22. Hans Namuth, Jackson Pollock at work, 1950
  • 23. Allan Kaprow, Yard, 1961, Happening: Environmental artwork activated by performers & viewers.
  • 24. 19.36, Allan Kaprow, Photograph from Household, a Happening commissioned by Cornell University, 1964
  • 25. Art Movement: Pop Art (1960s)
    Backdrop was rise of consumer culture/ advertising/ celebrity
    Pop Art was the union of art and popular culture. They embraced mass culture
    Deal with the “new”, the “store-bought”
    Pop artists borrowed images that were mass produced and made them repetitive
    British Pop Art came first: Richard Hamilton
    American Pop Art: Claes Oldenburg, Roy Lichtenstein, Andy Warhol
  • 26. Pop Art
    Pop artists made an effort to make viewers aware of the extent to which advertising and the production/consumption cycle dominated everyday life
    America’s shared knowledge no longer came from “high culture” sources like literature, mythology, or religion, but rather from television, movies, and advertisements. Pop artists reflected this by blurring the distinction between art and consumption.
    The movement examined the effects of consumerism on human thought, emotion, and creativity. It posed the question: what is more important, the thing or its image?
  • 28. 19.19, Richard Hamilton, Just What Is It That Makes Today’s Homes So Different, So Appealing?, 1956, collage, 10” x 9”
  • 29. 1960sAMERICAN POP
  • 30. Claes Oldenburg, Soft Typewriter, 1963
  • 31. Claes Oldenburg Soft Pay Telephone, 1963
    “Basically collectors want nudes…so I have supplied for them nude cars, nude telephones, nude electric plugs, nude switches…”
  • 32. 19.41, ClaesOldenburg, The Store, 1961
  • 33. Claes Oldenburg, Installation, Green Gallery, NY, 1962
  • 34. 19.43, Claes Oldenburg, Geometric Mouse, Scale A, 1969-71, Aluminum, Steel, and Paint, 12’ tall, Walker Art Center, Minneapolis
  • 35. 23.21, Claes Oldenburg, Batcolumn, 1977, Chicago
  • 36. 23.22, Claes Oldenburg, Spoonbridge and Cherry, 1985-88. Aluminum, stainless steel, and paint. Walker Art Center, Minneapolis
  • 37. roylichtenstein (1923-1997)Photo: 1985
  • 38. Roy Lichtenstein, Oh, Jeff…I Love You, Too…But.., 1964, 48” x 48”
  • 39. Roy Lichtenstein, Blam, 1962
  • 40. Roy Lichtenstein, Image Duplicator, 1963
  • 41. Morris Louis, Saraband, 1959, over 8’ x 12’ Lichtenstein, OK Hot Shot, 1963
  • 42. Andy Warhol (1928-1987) Self Portrait, 1960
  • 43. Andy Warhol, Self Portrait, 1967
    If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am…There’s nothing behind it.-Warhol
  • 44. Andy Warhol, Untitled (Shoes), 1956
  • 45. Andy Warhol, Roll of Bills, 1962
  • 46. Andy Warhol,32 Campbell’s Soup Cans, 1961-2, acrylic on canvas, each 20 x 16”
  • 47. 19.58, Andy Warhol, Installation view of Campbell’s Soup Cans, Ferus Gallery, Los Angeles, 1962
  • 48. 19.57, Andy Warhol, 210 Coke Bottles, 1962
    “A coke is a Coke & no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good”
  • 49. Andy Warhol, Ambulance Disaster, 1963
  • 50. Andy Warhol, Black and White Disaster, 1962
    “The more you look at the same exact thing, the more the meaning goes away, and the better & emptier you feel”.-Warhol
  • 51. Andy Warhol, Electric Chair, 1964
  • 52. Andy Warhol, Birmingham Race Riot, 1964
  • 53. Andy Warhol, The Week that Was, 1963
  • 54. 19.59, Andy Warhol, Marilyn Monroe, 1962, Silkscreen ink on synthetic oil, acrylic, and silkscreen enamel on canvas, 20 x 16”
  • 55. Andy Warhol, Monroe Diptych, 1962