[; ’[&[L-'[-'
L POP ART IS AN ART MOVEMENT THAT EMERGED IN THE IN
BRITAIN AND IN THE [A TE I95OS IN THE UNITED STATES.
...
CAI Lilli. ’ -em: -151.:
L THE WORD ’POP’ WAS FIRST COINED IN I954. BV THE BRITISH ART
CRITIC . TO DESCRIBE A NEW TVPE ...
( ; Axo1"! :-,4 7'7
. j. .‘
I. {T
‘ 1
. .s: _;7*
Kaep [gift I,
?'~ . “, » ,
: _.. ~K~§, _,v n
9:. ' ' " I
‘T T; ...
C l Cl C l ltl - .1/ill-'lC'l c/ :1.’
L THE TERM "POP ART” WAS OFFICIALLV INTRODUCED IN DECEMBER
I962.‘ THE OCCASION WAS ...
’RETROACTlVE I’. I964 OIL AND WUMBERS IN COLOR’. I958-59
SILKSCREEN ON CANVAS BV ROBERT ENCAUS TIC AND NEWSPAPER ON
RAU...
L/ .12 ‘L-'l& . '.l&i "L52 ‘.5.’
L Ll / .'l-L‘ Ol l’/ _’[t'l-‘U/ .'L-‘: I9Z9
L CLAES OLDENBURG WAS THE
POP ARTIST WHO GR...
l. 'L‘ l’ l. /Li/ fl l‘/ Cb ll‘! /I : I923-I997
RO E’ LICH TENS TEIII DE IIELOPED A
POP ARTS TYLE THAT WAS BASED
Oil. ’ ...
O ADVWMIIOL : l928-I987
O WARHOL ORIGINALLV WORKED
AS A ’COMMERCIAL ARTIST’ AND
HIS SUBJECTMA TTER WAS
DERIVED FROM THE I...
Pop art brief
of 9

Pop art brief

Published on: Mar 4, 2016
Source: www.slideshare.net


Transcripts - Pop art brief

  • 1. [; ’[&[L-'[-' L POP ART IS AN ART MOVEMENT THAT EMERGED IN THE IN BRITAIN AND IN THE [A TE I95OS IN THE UNITED STATES. C B V CREATING PAINTINGS OR SCUIPTURES OF OBJECTS AND MEDIA STARS. THE POP ART MOVEMENT AIMED TO BLUR THE BOUNDARIES BETWEEN ”HIGH”ARTAND ”lOW" CULTURE. C ITINCLUDED DIFFERENT S TVLES OF PAINTING AND SCULPTURE FROM VARIOUS COUNTRIES. BUT WHAT THE V All HAD IN COMMON WAS AN INTEREST IN MASS-MEDIA. MASS-PRODUCTION AND MASS-CULTURE. L THE MAJORITV OF POP ARTISTS BEGAN THEIR CAREERS IN . MAN V OF THEM TURNED INTO GRAPHIC DESIGNERS AND MAGAZINE ILLUSTRA TORS
  • 2. CAI Lilli. ’ -em: -151.: L THE WORD ’POP’ WAS FIRST COINED IN I954. BV THE BRITISH ART CRITIC . TO DESCRIBE A NEW TVPE OF ART THAT WAS INSPIRED B V THE IMAGERV OF POPULAR CULTURE. L ALLOWAV. ALONGSIDE THE ARTISTS AND . WAS AMONG THE FOUNDING MEMBERS OF THE INDEPENDENT GROUP. A COLLECTIVE OF ARTISTS. ARCHITECTS. AND WRITERS WHO BECAME THE FORERUNNERS TO BRITISH POP ARI! L BRITISH POP ARTISTS ADOPTED A SIMILAR VISUAL TECHNIQUE AS DADAISTS BUT FOCUSED THEIR ATTENTION ON THE MASS IMAGERV OF WHICH THE V WAVED AS A CHALLENGE IN THE FACE OF THE ES TABLISHMEN11
  • 3. ( ; Axo1"! :-,4 7'7 . j. .‘ I. {T ‘ 1 . .s: _;7* Kaep [gift I, ?'~ . “, » , : _.. ~K~§, _,v n 9:. ' ' " I ‘T T; ‘‘T ‘fr’ 45199" i"_‘*‘ EDUARDO PAOLOZZI. I WAS A RICH MAN'S PLAVTHING -1947 IS CONSIDERED THE INI TIAL STANDARD BEARER OF "POP ART" AND FIRST TO DISPLAV THE WORD "POP". RICHARD HAMILTON’S COLLAGE JUST WHAT IS IT THATMAKES TODAV’S HOMES SO DIFFERENT. SO APPEALING? 619566 IS ONE OF THE EARLIES T WORKS TO BE CONSIDERED "POP ART".
  • 4. C l Cl C l ltl - .1/ill-'lC'l c/ :1.’ L THE TERM "POP ART” WAS OFFICIALLV INTRODUCED IN DECEMBER I962.‘ THE OCCASION WAS A "SVMPOSIUM ON POP ART" ORGANIZED BV THE MUSEUM OF MODERN ARTZ L AMERICAN POP ART WAS BOTH A DEVELOPMENT OF AND A REACTION AGAINST PAINTING. L AROUND I955. TWO REMARKABLE ARTISTS EMERGED WHO WOULD LAV THE FOUNDATIONS OF A BRIDGE BETWEEN ABSTRACT EXPRESSIONISM AND POP ART THE V WERE AND . THE FORERUNNERS OF AMERICAN POP ART. L OF EQUAL IMPORTANCE TO AMERICAN POP ART IS HIS WORK PROBABLV DEFINES THE BASIC PREMISE OF POP ART BETTER T HAN AN V OTHER THROUGH PARODK
  • 5. ’RETROACTlVE I’. I964 OIL AND WUMBERS IN COLOR’. I958-59 SILKSCREEN ON CANVAS BV ROBERT ENCAUS TIC AND NEWSPAPER ON RAUSCHENBERG. CANVAS BV JASPER JOHNS
  • 6. L/ .12 ‘L-'l& . '.l&i "L52 ‘.5.’ L Ll / .'l-L‘ Ol l’/ _’[t'l-‘U/ .'L-‘: I9Z9 L CLAES OLDENBURG WAS THE POP ARTIST WHO GRAVITATED TOWARDS SCULPTURE MORE THAN AN V OF HIS CON TEMPORARIES. L IN I961 HE OPENED ’ THE STORE ’ WHERE HE SOLD PLASTER REPLICAS OF FAS T FOODS TUFF AND JUNK MERCHANDISE WHOSE CRUDELV PAINTED SURFACES WERE AN OBVIOUS PARODV OF ABSTRACT EXPRESSIONISM. SPOONBRIDGE AND CHERRV I985 -88 ALLUMINIUM. STAINLESS STEEL AND PAINT
  • 7. l. 'L‘ l’ l. /Li/ fl l‘/ Cb ll‘! /I : I923-I997 RO E’ LICH TENS TEIII DE IIELOPED A POP ARTS TYLE THAT WAS BASED Oil. ’ THE VISUAL l’ERNACULAR OF :3‘SASS-COMI}1Ull'ICA TION: THE C OMIC S TRIP. A S Tl’LE THAT WAS FIXED N. ’ ITS F ORIiiAI': BLACK OUTLINES. BOLD COLORS AND TONES RI: T.’DERED B 5’ BEiL’DA '. ’ DOTS LICH TENS TEIH DOES NOT EI. 'AC TL! ’ COP! ’ HIS COMIC BOOI IMA GES. ‘ HE SUB TL l’ REFIi. ’ES T. ~'--. .—'Eiri. CONSCIOUS OF THEIR 7'RAI. ’SFORIl’: ED APPEARANCE Oil. ’ A LARGER SCALE AND A WARE OF THEIR AES THE TIC Ill’ TERPRE TA TION E4/ITHIIZ’ THE C Oil! TEA’ T OF THE il'JUSEUi°9i. ’WHAAMI’. I963 OIL AND ACRYLIC RESIN ON CANVAS LOOK MICKEY. I973 OIL. ACRYLIC RESIN AND SAND ON CANVAS
  • 8. O ADVWMIIOL : l928-I987 O WARHOL ORIGINALLV WORKED AS A ’COMMERCIAL ARTIST’ AND HIS SUBJECTMA TTER WAS DERIVED FROM THE IMAGERV OF MASS-CULTURE: ADVERTISING. COMICS. NEWSPAPERS. TVAND THE MOVIES. O THE LEFT HAND PANEL OF HIS MARIL VN DIPTVCH IS A CRUDELV COLORED PHOTOGRAPH OF THE ACTRESS WHOSE SENSE OF ’SELF’ MARILYN nrprvcu. I962 IS DEGRADED THROUGH THE SIIKSCPEEN 0" CANVAS REPETITION OF HER IMAGE. WHEREAS THE RIGHT HAND PANEL IS A PH VSICALLV DEGRADED BLACK AND WHITE IMAGE THAT REFLEC TS THE EPHEMERAL OUALI TIES OF FAME.

Related Documents