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Post Pop Art brings together critical essays about American British, and Continental Pop Art written by some of the leading theorists of our time. From Guy Debord's proto-Pop Situationist manifesto of 1950 to a late reflection by Roland Barthes, and two arguments about Pop by the influential philosopher Jean Baudrillard, Post Pop Art provides a timely retrospective look at the complex origins and contemporary manifestations of Pop Art.Post Pop Art also looks at the classic period of Pop Art from a 1980s perspective and discusses its relevance to Punk and New Wave music, artistic appropriation, and the post Pop movements of today. "That critics can still find in Pop a model for political debate is only one of the multitude of paradoxes that abound in this seemingly most impassive and celebratory of art movements," writes Paul Taylor.Also included in the book are essays by Dan Graham on Punk, the full text of a famous essay by Dick Hebdige, "In Poor Taste," and two essays by Americans David Dietcher and Mary Anne Staniszewski written after Andy Warhol's death.Paul Taylor, an art critic in New York is the founding editor and publisher of Art & Text magazine. He has curated several exhibitions on Pop Art and is editor of Impresario: Malcolm McLaren and the British New Wave. Post­Pop Art is a Flash Art Book.
Originating in England in the mid 1950s, Pop Art developed its full potential in the USA in the 1960s. It substitutes the everyday for the splendid; mass-produced articles are assigned the same importance as one-offs; the difference between high culture and popular culture is swept away. Media and advertising are among the preferred contents of Pop Art, which celebrates the consumer society in its own witty fashion. The enthusiasm generated by Pop Art since the first works were exhibited has never died down -- it is greater today than ever before. Book jacket.
This new installment in the Art Essentials series is an indispensable guide for anyone fascinated by the pop art movement. Pop Art refers to a post-war movement connecting art with popular culture. Billboard signs, comic books, and movie stars were just some of the subjects chosen by pop artists, such as Andy Warhol, Roy Lichtenstein, James Rosenquist, and Claes Oldenburg, to name a few, to illustrate the contemporary world in which they lived. Largely characterized by bold and strident colors combined with a cool-eyed appropriation of contemporary imagery, pop art sought to highlight both the negative and positive facets of modern culture. The newest installment in the Art Essentials series explores this phenomenon, which had its roots in post-war British and American consumerism before spreading and capturing the imagination of young artists. After establishing the origins of the form, the book delves into subjects like the role of stardom and glamor in pop art and how pop art vocabulary grew to include political figures and even war imagery. As written by Flavia Frigeri, an authority on the subject, this book is an essential guide for anyone fascinated by the pop art movement.
Which Modern Artistic Movement Uses Bright Colors And Commercial Products? Pop Art! Learn About Art By Warhol, Jasper Johns, And Lichtenstein. Supports Emphasis On Increasing Steam (Science, Technology, Engineering, Art, And Math) Content.
From the New York Times bestselling author of NOS4A2 and Horns comes this e-short story—from Joe Hill’s award-winning collection 20th Century Ghosts. Imogene is young and beautiful. She kisses like a movie star and knows everything about every film ever made. She's also dead and waiting in the Rosebud Theater for Alec Sheldon one afternoon in 1945. . . . Arthur Roth is a lonely kid with big ideas and a gift for attracting abuse. It isn't easy to make friends when you're the only inflatable boy in town. . . . Francis is unhappy. Francis was human once, but that was then. Now he's an eight-foot-tall locust and everyone in Calliphora will tremble when they hear him sing. . . . John Finney is locked in a basement that's stained with the blood of half a dozen other murdered children. In the cellar with him is an antique telephone, long since disconnected, but which rings at night with calls from the dead. . . .
In this age of insta-stardom and selfies, Pop Art still defines the world we live in. Emerging in the 1950s, Pop Art arrived in an explosion of colour, offering bold representations and plenty of humour. All of the celebrities, events and politics that came to define two turbulent decades are encapsulated in their work. Pop Art challenged the establishment and offered a new modernism, blurring the line between art and mass production. Uncover 100 stories in this essential guide to a groundbreaking movement. Enjoy enlightening critiques of iconic works; meet key figures including Warhol and Hockney; and discover inspirational ideas and novel new methods.
The classic and provocative account of how art changed irrevocably with pop art and why traditional aesthetics can’t make sense of contemporary art A classic of art criticism and philosophy, After the End of Art continues to generate heated debate for its radical and famous assertion that art ended in the 1960s. Arthur Danto, a philosopher who was also one of the leading art critics of his time, argues that traditional notions of aesthetics no longer apply to contemporary art and that we need a philosophy of art criticism that can deal with perhaps the most perplexing feature of current art: that everything is possible. An insightful and entertaining exploration of art’s most important aesthetic and philosophical issues conducted by an acute observer of contemporary art, After the End of Art argues that, with the eclipse of abstract expressionism, art deviated irrevocably from the narrative course that Vasari helped define for it in the Renaissance. Moreover, Danto makes the case for a new type of criticism that can help us understand art in a posthistorical age where, for example, an artist can produce a work in the style of Rembrandt to create a visual pun, and where traditional theories cannot explain the difference between Andy Warhol’s Brillo Box and the product found in the grocery store. After the End of Art addresses art history, pop art, “people’s art,” the future role of museums, and the critical contributions of Clement Greenberg, whose aesthetics-based criticism helped a previous generation make sense of modernism. Tracing art history from a mimetic tradition (the idea that art was a progressively more adequate representation of reality) through the modern era of manifestos (when art was defined by the artist’s philosophy), Danto shows that it wasn’t until the invention of pop art that the historical understanding of the means and ends of art was nullified. Even modernist art, which tried to break with the past by questioning the ways in which art was produced, hinged on a narrative.
Less a distinct style than the concrete expression of being in a particular era, Pop art is regarded as one of the most influential movements in modern art. From Lichtenstein's comic book aesthetics to Allen Jones's much-contested female figure furniture, this overview examines the origins, pioneers, and stand-out pieces of a movement which...
The definitive biography of a fascinating and paradoxical figure, one of the most influential artists of his—or any—age To this day, mention the name “Andy Warhol” to almost anyone and you’ll hear about his famous images of soup cans and Marilyn Monroe. But though Pop Art became synonymous with Warhol’s name and dominated the public’s image of him, his life and work are infinitely more complex and multi-faceted than that. In Warhol, esteemed art critic Blake Gopnik takes on Andy Warhol in all his depth and dimensions. “The meanings of his art depend on the way he lived and who he was,” as Gopnik writes. “That’s why the details of his biography matter more than for almost any cultural figure,” from his working-class Pittsburgh upbringing as the child of immigrants to his early career in commercial art to his total immersion in the “performance” of being an artist, accompanied by global fame and stardom—and his attempted assassination. The extent and range of Warhol’s success, and his deliberate attempts to thwart his biographers, means that it hasn’t been easy to put together an accurate or complete image of him. But in this biography, unprecedented in its scope and detail as well as in its access to Warhol’s archives, Gopnik brings to life a figure who continues to fascinate because of his contradictions—he was known as sweet and caring to his loved ones but also a coldhearted manipulator; a deep-thinking avant-gardist but also a true lover of schlock and kitsch; a faithful churchgoer but also an eager sinner, skeptic, and cynic. Wide-ranging and immersive, Warhol gives us the most robust and intricate picture to date of a man and an artist who consistently defied easy categorization and whose life and work continue to profoundly affect our culture and society today.