1. PRE-ASSESSMENT
Conduct the following survey
to assess what the students
know or have experienced
concerning pop art and/or
op art:
1. Have you heard of the
2. 2. If yes, briefly describe
what you know about each of
these styles.
3. If not, what do you think
the names of these styles
refer to?
3. 4. Can you name any well-
known artists using these
styles?
5. Can you guess what
types of subjects these
styles depicted?
4. Abstract Expressionism, Pop
Art, Op Art
World events in the mid-
20th century immensely
influenced the course of
human life and, with it, the
5. World War I (1913-1914)
and World War II (1941-
1945), in particular,
shifted the political,
economic, and cultural
world stage away from
Europe and on to the
6. The New York School
In the 1920s and 1930s,
aspiring young American
painters, sculptors, and
writers sailed to Europe to
expand their horizons.
7. But during the dark days of
World War II, a reverse
migration brought
European scientists,
architects, and artists to
American shores. New
York, became a haven for
8. The result was the
establishment of what
came to be known as “The
New York School”—as
opposed to “The School of
Paris” that had been very
influential in
9. The daring young artists in
this movement succeeded
in creating their own
synthesis of Europe’s
cubist and surrealist
styles. Their style came to
be known as
abstract expressionism.
10. Action Painting
One form of abstract
expressionism was seen in the
works of Jackson Pollock.
These were created through
what came to be known as
11. Pollock worked on huge
canvases spread on the
floor, splattering, squirting,
and dribbling paint with
(seemingly) no pre-planned
pattern or design in mind.
The total effect is one of
vitality, creativity, “energy
14. Color Field Painting
In contrast to the vigorous
gestures of the action
painters, another group of
artists who came to be
known as “color field
painters” used different color
15. to create their desired
effects. Some of their
works were
huge fields of vibrant
color—as in the
paintings of Mark
Rothko and Barnett
16. Magenta, Black, Green on Orange Vir Heroicus
Sublimis
Mark Rothko, 1949 Barnett Newman,
17. Others took the more
intimate “pictograph”
approach, filling the
canvas with repeating
picture fragments or
symbols—as in the works
of Adolph Gottlieb and
Lee Krasner.
20. After “The New York School”
By the early 1960s, the
momentum of The New York
School slowed down. In
itsplace, a new crop of artists
came on the scene using
lighter treatment and flashes
21. The movements they
brought about have
come to be called:
1. neo dadaism and pop
art
2. conceptual art
3. op art
22. Neo dadaism, Pop Art,
Op Art
Like the dadaist
movement that arose
after World War I, the
neodadaism of the
1960s wanted to make
23. It also made use of
commonplace, trivial, even
nonsensical objects. But
unlike the angry, serious
tone of the original
dadaists, the neo dadaists
seemed to enjoy nonsense
for its own sake and simply
24. Their works ranged from
paintings, to posters, to
collages, to three-
dimensional “assemblages”
and installations. These
made use of easily
recognizable objects and
images from the emerging
25. Their inspirations were the
celebrities,
advertisements,
billboards, and comic
strips that were becoming
commonplace at that time.
Hence the term pop (from
“popular”) art emerged.
28. Roy Lichtenstein (1923-
1997) was an American
pop artist. During the
1960s, along with Andy
Warhol, Jasper Johns, and
James Rosenquist among
others, he became a
leading figure in this new
31. Conceptual Art
As the term implies,
conceptual art was that
which arose in the mind of
the artist, took concrete
form for a time, and then
disappeared (unless it was
32. Conceptualists questioned
the idea of art as objects
to be
bought and sold. Instead,
they brought their artistic
ideas to life temporarily,
using such
unusual materials as
33. A key difference between a
conceptual artwork and a
traditional painting or
sculpture is that the
conceptualist’s work often
requires little or no physical
craftsmanship.
34. Much of the artist’s time
and effort goes into the
concept or idea behind the
work, with the actual
execution then being
relatively quick and simple.
An example is this
35. One and Three Chairs
Joseph Kosuth, 1965
An actual chair (center), with a photograph of the same chair
and an enlarged copy of a dictionary definition of a chair
36. Op Art
Another movement that
emerged in the 1960s was
optical art or “op art.” This
was yet another experiment in
visual experience—a form of
“action painting,” with the
37. In op art, lines, spaces,
and colors were precisely
planned and positioned to
give the illusion of
movement.
38. As the eye moved over
different segments of the
image, perfectly stable
components appeared to
shift back and forth,
sometimes faster,
sometimes slower as the
brain responded to the
42. 2. Describe the influence
of iconic artists belonging
to the modern art .
a. Neo dadaism,
b. Conceptual art
c. Pop Art,
d. Op Art
43. Activity 2:
Directions: Write a short
comparative analysis essay
about the characteristics of
artworks in the 20th
century. Use the table below
as your guide and write
49. 1. What art style creates
an
illusion for the viewers?
A. Abstract Realism
B. Cubism
C. Dadaism
50. 2. Who among the
following was
an Op art artist?
A. Bridget Riley
B. Danny Sillada
C. Pablo Picasso
D. Roy Lichtenstein
51. 3. Op art is a form of action
painting that uses lines,
spaces, and colors that are
precisely planned and
positioned to give the illusion
of movement. What specific
sense of the viewer is used to
appreciate the artwork?
52. 4. It is an art movement that
makes use of commonplace,
trivial, and even nonsensical
objects that pop, which
makes artists seem to enjoy
and laugh at.
A. Conceptual art C.
Pop art
53. 5. What makes pop art differ from
op art?
A. Pop art makes use of
nonsensical
objects, while op art is just
an illusion.
B. Op art is way more
fascinating to look
at while pop art is not so
54. PRE-ASSESSMENT
Conduct the following survey to
assess what the students know
or have experienced concerning
installation art and performance
art:
1. Do you know what
installation art is?
55. 3. Do you know what
performance art is?
4. Have you ever
witnessed or
watched such a form of
art? If
yes, what was your
56. Contemporary Arts Forms:
Installation Art and
Performance Art
The 20th century also saw
the rise of new art forms
aside from the traditional
ones of painting and
57. Installation art makes use of
space and materials in truly
innovative ways, while
performance art makes use of
the human body, facial
expressions, gestures, and
sounds. Both speak
powerfully about
58. Installation Art
Installation art is a
contemporary art form that
uses sculptural materials
and other media to modify
the way the viewer
experiences a particular
59. Usually, life size or
sometimes even larger,
installation art is not
necessarily confined to
gallery spaces. It can be
constructed or positioned
in everyday public or
64. It may be said that
primitive forms of this art
have existed since
prehistoric times.
However, this genre was
not regarded as a distinct
category until the mid-20th
century and only came to
66. Performance Art
Performance art is a form
of modern art in which the
actions of an individual or a
group at a particular place
and in a particular time
constitute the work. It can
happen
67. It can be any situation that
involves
four basic elements:
1. time
2. space
3. the performer’s body
4. a relationship between
performer
70. Performance art does include
such activities as theater,
dance, music, mime,
juggling, and gymnastics.
However, the term is usually
reserved for more
unexpected, avantgarde,
and unorthodox activities
71. The performer himself or
herself is the artist, rather
than an actor playing a
character as in a stage play.
The performance venue may
range from an art gallery or
museum to a theater, café,
72. The performance itself rarely
follows a traditional story
line or plot. It might be a
series of intimate gestures, a
grand theatrical act, or the
performer remaining totally
still.
73. It may last for just a few
minutes or extend for
several hours. It may be
based on a written script
or spontaneously
improvised as the
performance
unfolds
