Pop Art Case Study Calibri
Pop Art Case Study Calibri
CASE STUDY 2
INTRODUCTION
TO
BRITISH
POP
ART
The
word
POP
was
first
coined
in
1954
by
a
British
critic
when
describing
a
new
type
of
art
that
was
inspired
by
the
imagery
of
popular
culture.
The
Bristish
movement
was
founded
by
critic
Lawrence
Alloway
and
artists
Richard
Hamilton
and
Eduardo
Paolozzi,
who
were
part
of
a
group
that
included
artists,
architects
and
writers
explored
radical
approaches
to
contemporary
visual
culture.
This
was
illustrated
by
a
series
of
collages
(collage
was
still
cutting
edge
as
it
is
believed
to
have
been
used
first
as
an
art
form
by
Picasso)
created
from
American
magazines
that
Paolozzi
received
from
GIs
who
were
still
in
Paris
in
the
late
40s.
I
was
a
Rich
Mans
Plaything
was
the
first
artwork
to
include
the
word
POP.
Some
young
British
artists
in
the
1950s
who
grew
up
with
the
wartime
austerity
of
ration
books
and
utility
design,
viewed
the
seductive
imagery
of
American
popular
culture
and
its
consumerist
lifestyle
with
a
romantic
sense
of
irony
and
a
little
bit
of
envy.
They
saw
America
as
being
the
land
of
the
free
free
from
the
crippling
conventions
of
a
class
ridden
establishment
that
could
suffocate
the
culture
they
envisaged:
a
more
inclusive,
youthful
culture
that
embraced
the
social
influence
of
mass
media
and
mass
production.
Pop
art
became
their
mode
of
expression
in
this
search
for
change
and
its
language
was
adapted
from
Dada
collages
and
assemblages.
The
Dadaists
had
created
irrational
combinations
of
random
images
to
provoke
a
reaction
from
the
establishment
of
their
day.
British
Pop
artists
adopted
a
similar
visual
technique
but
focused
their
attention
on
the
mass
imagery
of
popular
culture
which
they
waved
as
a
challenge
in
the
face
of
the
establishment.
The
key
players
in
this
movement
were
Eduardo
Paolozzi,
Peter
Blake,
David
Hockney,
Allen
Jones,
Joe
Tilson,
Derek
Boshier,
Richard
Smith
and
R.B
Kitaj.
INTRODUCTION
TO
AMERICAN
POP
ART
Pop
art
in
America
evolved
slightly
differently
to
that
of
its
British
counterparts.
It
was
both
a
development
and
reaction
against
abstract
expressionist
painting.
Abstract
expressionism
was
the
first
American
movement
to
achieve
global
acclaim
but
by
the
mid
50s
many
felt
it
had
become
to
elitist.
American
Pop
Art
evolved
as
attempt
to
reverse
this
trend
by
reintroducing
the
image
as
a
structural
device
in
painting,
to
pull
art
back
from
the
obscurity
of
abstraction
into
the
real
world
again.
This
was
a
model
that
had
been
tried
and
tested
before.
Picasso
had
done
something
forty
years
previously
when
he
collaged
real
world
printed
images
onto
his
still
lifes,
as
he
feared
that
his
painting
was
becoming
too
abstract.
Around
1955,
two
remarkable
artists
emerged
who
would
lay
the
foundations
of
a
bridge
between
Abstract
Expressionism
and
Pop
Art.
They
were
Jasper
Johns
and
Robert
Rauschenberg,
the
forerunners
of
American
Pop
Art.
INTRODUCTION
Like
Andy
Warhol,
Australian
artist
Maria
Kozic
was
fascinated
by
pop-
culture
icons,
reworking
sources
that
had
become
banal
through
overexposure.
For
her
series
MASTERPIECES
1986,
Kozic
translated
celebrated
images
by
20th-century
art
masters
onto
canvases
that
are
literally
fractured
into
irregular
shards,
imitating
comic
book
explosions.
MASTERPIECES
(Warhol)
cites
one
of
Warhols
legendary
Campbells
soup
cans,
the
subject
of
his
inaugural
solo
exhibition
at
the
Ferus
Gallery
in
Los
Angeles
in
1962.
With
characteristic
wit,
Kozics
gesture
of
blowing
up
such
an
iconic
image
parodies
the
precious
and
authentic
status
of
the
original
a
Warholian
sentiment
that
was
widely
invoked
in
postmodern
art
of
the
1980s.
Robert Rauschenberg U S A 1925
2008 Dylaby 1962 oil, metal objects,
metal spring, metal Coca-Cola sign,
ironing board, and twine on
unstretched canvas tarp on wood
support Robert Rauschenberg
Foundation Untitled Press
Inc/V A G A . Licensed by Viscopy,
Sydney
1957 U S S R launches
Sputnik 1, the first artificial
Earth satellite
1961 Colin Lanceley, Mike
Brown and Ross Crothall
form the Annandale
Imitation Realist group
SWINGING
LONDON
Peter
Blake
was
a
pioneer
of
pop
art
in
Britain.
In
this
self-portrait,
the
artist
represents
his
fascination
with
American
and
popular
culture.
Blake
is
holding
an
Elvis
Presley
fanzine
and
wears
baseball
boots,
fashionably
turned-up
wide-legged
Levi
jeans,
and
a
denim
jacket
covered
with
an
array
of
badges.
As
well
as
the
obvious
stars
and
stripes
on
the
jacket
pocket,
other
badges
have
American
associations,
such
as
Pepsi-Cola.
At
the
time,
Blake
was
yet
to
visit
the
United
States
and
his
choice
of
a
suburban,
vaguely
British
garden
setting
locates
him
as
a
distant
consumer
of
its
trends.
In 1966, Time magazine famously
described London as the Swinging City: a
thriving hub of optimism and innovation,
bolstered in part by pop arts boldness and
rebellious spirit.
The new pop style announced its arrival at
the Young contemporaries exhibition in
1961. This annual showcase of emerging
talent profiled young artists from Londons
Royal College of Art, including Derek
Boshier, Peter Phillips and David Hockney.
They found their subjects in city life, which
was rapidly evolving in the wake of renewed
economic prosperity.
British pop art of the early 1960s often
included both American and local
references, such as Peter Blakes selfportrait as an Elvis fan in an English garden.
The artists maintained a painterly style,
combined aspects of abstract and figurative
art and brought together diverse visual
elements in a style that often mimicked
collage. Their work became part of the socalled British invasion of fresh music,
fashion and culture that swept around the
world.
British pop influenced Australian artists
during this period; at the same time, many
Australians who moved to London in the
1960s such as Robert Hughes, Germaine
Greer, Barry Humphries, Richard Neville
and Martin Sharp also played a part in
shaping the London scene
EURO POP
In
the
1960s,
French
artist
Alain
Jacquet
made
a
series
of
works
based
on
famous
paintings
from
art
history.
They
highlighted
the
way
some
works
of
high
art
had
infiltrated
popular
culture
through
their
wide
circulation
in
mass
reproduction.
This
work
imitates
19th-century
realist
painter
Edouard
Manets
Djeuner
sur
lherbe
1865.
Jacquet
restaged
Manets
composition
with
his
own
friends
posing
in
a
modern
setting,
by
a
swimming
pool.
Rather
than
capturing
the
scene
in
paint,
he
photographed
it,
then
used
a
screenprinting
process
to
replicate
the
image.
The
enlarged
Benday
dots
allude
to
the
offset
printing
colours
of
cyan,
yellow,
magenta
and
black.
The
resulting
optical
effect
reveals
the
works
mechanical
production,
and
exaggerates
the
print
technique
and
graphic
visual
style
of
mass
media.
1951 Americas Marshall Plan funding for European postwar recovery ends; participating countries
enjoy unprecedented economic growth
1960 Nouveaux ralisme art movement is founded by the art critic Pierre Restany
1961 Construction of the Berlin Wall begins
1963 Dsseldorf artists Manfred Kuttner, Konrad Lueg, Sigmar Polke and Gerhard Richter declare
themselves Capitalist Realists
1967 Guy Debord publishes his revolutionary critique of capitalism and modernity, The society of the
spectacle
MADE
IN
OZ
In the 1950s Australia shared the same
postwar booming economic conditions as
much of the western world. By the early
1960s Australian artists were using pop
culture references to reflect the growing
dominance of advertising and
consumerism. Many were also reacting
against the expressive abstraction
prevalent in Sydney, or the anxious
figurative art of the largely Melbournebased Antipodean Group.
By 1964 pop art provided an alternative to
both these movements, and critic and
curator Daniel Thomas declared it to be
really proliferating. It is undeniably pop
art, clearly acknowledging its source
material in signs, trademarks,
advertisements, comic strips.
LATE POP
POPISM
QUESTIONS
Practice
Assess
how
Lichtensteins
practice
is
affected
by
time.
(One
page)
Conceptual Framework
Explain
using
Andy
Warhols
Marilyn
Monroe
1976,
how
the
relationships
between
the
agencies
can
shape
the
meaning
of
artworks.
(one
page)
Subjective Frame
Discuss
how
Derek
Boshiers
Drinka
Pinta
Milka
1962
conveys
his
feelings
about
advertising
to
the
audience.
(Half
page)
Structural Frame
Evaluate
the
signs
and
symbols
used
by
Joe
Tilson
in
Nine
elements
1967.
(Half
page)
Cultural
Frame
Keith
Haring
made
graffiti
art
in
the
New
York
City
subway.
His
characters
often
look
like
they
are
moving
in
time
to
the
rhythm
and
sound
of
the
city.
Looking
at
his
work
Untitled
1982,
explain
what
sounds/music
you
think
this
creature
is
moving
to?
(Half
page)
Outline
how
an
artist
and
one
of
their
artworks
(of
your
choosing)
exemplify
the
Post
Modern
frame.
(half/whole
page)