Pop Art (Art of Century)
Format: PDF / Kindle (mobi) / ePub
This book offers a radically new perspective on the so-called Pop Art creative dynamic that has been around since the 1950s. It does so by enhancing the term Pop Art which has always been recognised as a misnomer, for it obscures far more than it clarifies. Instead, the book connects all the art in question to mass-culture which has always provided its core inspiration. Above all, the book suggests that this Mass-Culture Art has created a new Modernist tradition which is still flourishing. The book traces that tradition through the forty or more years since Pop/Mass-Culture Art first came into being in the 1950s, and locates it within its larger historical context. Naturally the book discusses the major contributors to the Pop/Mass-Culture Art tradition right up to the present, in the process including a number of artists who have never previously been connected with so-called Pop Art but who have always been primarily interested in mass-culture, and who are therefore partially or totally connected with Pop/Mass-Culture Art. The book reproduces in colour and discusses in great detail over 150 of the key works of the Pop/Mass-Culture Art tradition. Often this involves the close reading of images whose meaning has largely escaped understanding previously. The result is a book that qualitatively is fully on a level with Eric Shanes's other best-selling and award-winning writings.
greatly, the painter necessarily amplifies the banality of the original material and thereby accentuates something of the falsity – of taste, imagery and even economic value – that lies at the very heart of the increasingly inauthentic global mass-culture that continues to expand and surround us. Moreover, the magnification of kitsch or laughable bad taste serves just as usefully as a distancing process, allowing both artist and viewer to look down upon the original imagery with cultural
marketing – are what makes and eventually sells them. All of this he wanted to parallel exactly in his art. The first Campbell’s Soup Cans and Dollar Bills paintings were followed by pictures of teach-yourself-to-dance diagrams, paint-by-numbers images, and serried ranks of Coca-Cola bottles, S & H Green Stamps, airmail stamps and stickers, and ‘Glass – Handle with Care’ labels. Many of these were produced using hand-cut stencils or rubber stamps and woodblocks, devices Warhol had employed as an
well as materialism, consumerism, conspicuous consumption and media hero-worship. All of these and manifold other developments have necessarily involved the institutions, industrial processes and artefacts created during this epoch, although not until the emergence of Pop/Mass-Culture Art in the late-1950s did artists focus exclusively upon the cultural tendencies, processes and artefacts of the era. When Lawrence Alloway wrote of ‘Pop’ in 1958, he belonged to a circle within the Institute of
Courtesy Tony Shafrazi Gallery, New York. Keith Haring was born in Kutztown, Pennsylvania in 1958. Between 1976 and 1978 he studied art in Pittsburgh and then moved to New York where he attended the School of Visual Arts. He exhibited extensively in New York before mounting his f irst solo show at Club 57 in New York in 1981. His f irst gallery display followed in 1982. In 1983 he exhibited in New York, London and Tokyo, while during the next year he created murals in Australia, Brazil and the
base of its stem, in order to make it gleam constantly, while another spray of water simultaneously trickles from the top of the stem down over the cherry, on to the spoon and into the pond below. Naturally, in winter this water freezes, changing the beauty of the piece entirely. The spoon weighs 2630 kg, the cherry 544 kg; both were created at two New England shipbuilding yards. In order to avoid staining the bowl of the spoon, purified city water had to replace well water as the source of the