Art 271 Pop Art
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Transcript of Art 271 Pop Art
ART 271Ch. 19 Pop Art
LOOKING AHEAD
Today: Lecture on Assemblage, Happenings, Pop Art: Ch. 19
Tues. 11/17: Film: Andy Warhol. Also, discussion about MAG Paper due Thurs. Dec. 3rd
Thurs. 11/19: Ch. 20, Sixties Abstraction: Minimalism
REMINDER: NO CLASS WEEK OF NOV 24
1950s & 1960s Beat Background Assemblage Happenings Pop Art
HISTORICAL BACKGROUND: 1950S CONVENTIONAL AMERICA: EMPHASIS ON THE NUCLEAR FAMILY: TV’S ‘LEAVE IT TO BEAVER’
1950S BEAT GENERATION BACKGROUND
“I saw the best minds of my generation destroyed by madness, starving hysterical naked.”
– Howl, 1955
Allen Ginsberg, Howl, 1955
1950S BEAT CULTURE BACKGROUNDON THE ROAD, 1957
For: Jazz Zen Buddhism Experimentation
Against: Conformity Materialism Mainstream
ART MOVEMENT: ASSEMBLAGE (ALSO CALLED NEO-DADA)
Artists gather seemingly random objects and put them together in unruly compositions to see what kind of meanings might emerge
Emphasis on everyday surroundings for subject matter
Create their works from the “refuse” of modern society
Artists: Robert Rauschenberg, Jasper Johns Influences: Composer John Cage, Artist Marcel
Duchamp (Dada)
MORRIS LOUIS, SARABAND, 1959, OVER 8’ X 12’
ROBERT RAUSCHENBERG, CANYON, 1959, JASPER JOHNS, THREE FLAGS, 1958, ENCAUSTIC ON CANVAS
MARCEL DUCHAMP, BICYCLE WHEEL, 1913 & FOUNTAIN, 1917 READYMADES
JOHN CAGE, 1952
composer known for 4’ 33” – silent piece
ROBERT RAUSCHENBERG (1925-2008)
19.28, ROBERT RAUSCHENBERG, BED, COMBINE PAINTING: OIL AND PENCIL ON PILLOW, QUILT, AND SHEET ON WOOD SUPPORTS, MOMA
“Combine” – combination of painting and sculpture
19.29, ROBERT RAUSCHENBERG, MONOGRAM, 1955-59COMBINE - COMBINATION OF PAINTING & SCULPTURE
19.30, ROBERT RAUSCHENBERG, ESTATE, 1963. OIL ON SILKSCREEN INK ON CANVAS, 8’ X 5’10”
JASPER JOHNS (B. 1930)
ASSEMBLAGE
Both Johns and Rauschenberg move away from individual personal expression and fixed identity associated with Abstract Expressionism toward an identity shaped by factors from the outside environment.
19.31, JASPER JOHNS, FLAGS, 1954-55. ENCAUSTIC OIL AND COLLAGE ON FABRIC MOUNTED ON PLYWOOD. MOMA
19.32, JASPER JOHNS, TARGET WITH PLASTER CASTS, 1955. ENCAUSTIC AND COLLAGE ON CANVAS WITH WOOD CONSTRUCTION AND PLASTER CASTS. 51 X 44 X 3 ½ INCHES
ART MOVEMENT: HAPPENINGS
Purpose: to call into question the idea that a work of art was an enduring record of artistic genius
Sought to integrate art with life and extend art into a theatrical situation
Approach: Ephemeral works; chance; mixed media
**Audience is necessary to “activate” the work of art
Influenced by: John Cage Dadaism (Duchamp) Action Painting
Artist: Allan Kaprow
HAPPENINGS, ALLAN KAPROW, YARD, 1961
Early to mid 1960s
Name Happening from Allan Kaprow’s 1st show at N.Y.’s Reuben Gallery 1959.
HANS NAMUTH, JACKSON POLLOCK AT WORK, 1950
ALLAN KAPROW, YARD, 1961, HAPPENING: ENVIRONMENTAL ARTWORK ACTIVATED BY PERFORMERS & VIEWERS.
19.36, ALLAN KAPROW, PHOTOGRAPH FROM HOUSEHOLD, A HAPPENING COMMISSIONED BY CORNELL UNIVERSITY, 1964
ART MOVEMENT: POP ART (1960S)
Backdrop was rise of consumer culture/ advertising/ celebrity
Pop Art was the union of art and popular culture. They embraced mass culture
Deal with the “new”, the “store-bought”
Pop artists borrowed images that were mass produced and made them repetitive
British Pop Art came first: Richard Hamilton American Pop Art: Claes Oldenburg, Roy Lichtenstein, Andy
Warhol
POP ART
Pop artists made an effort to make viewers aware of the extent to which advertising and the production/consumption cycle dominated everyday life
America’s shared knowledge no longer came from “high culture” sources like literature, mythology, or religion, but rather from television, movies, and advertisements. Pop artists reflected this by blurring the distinction between art and consumption.
The movement examined the effects of consumerism on human thought, emotion, and creativity. It posed the question: what is more important, the thing or its image?
BRITISH POP
19.19, RICHARD HAMILTON, JUST WHAT IS IT THAT MAKES TODAY’S HOMES SO DIFFERENT, SO APPEALING?, 1956, COLLAGE, 10” X 9”
1960SAMERICAN POP
CLAES OLDENBURG, SOFT TYPEWRITER, 1963
CLAES OLDENBURG SOFT PAY TELEPHONE, 1963
“Basically collectors want nudes…so I have supplied for them nude cars, nude telephones, nude electric plugs, nude switches…”
19.41, CLAES OLDENBURG, THE STORE, 1961
CLAES OLDENBURG, INSTALLATION, GREEN GALLERY, NY, 1962
19.43, CLAES OLDENBURG, GEOMETRIC MOUSE, SCALE A, 1969-71, ALUMINUM, STEEL, AND PAINT, 12’ TALL, WALKER ART CENTER, MINNEAPOLIS
23.21, CLAES OLDENBURG, BATCOLUMN, 1977, CHICAGO
23.22, CLAES OLDENBURG, SPOONBRIDGE AND CHERRY, 1985-88. ALUMINUM, STAINLESS STEEL, AND PAINT. WALKER ART CENTER, MINNEAPOLIS
ROY LICHTENSTEIN (1923-1997)PHOTO: 1985
ROY LICHTENSTEIN, OH, JEFF…I LOVE YOU, TOO…BUT.., 1964, 48” X 48”
ROY LICHTENSTEIN, BLAM, 1962
ROY LICHTENSTEIN, IMAGE DUPLICATOR, 1963
MORRIS LOUIS, SARABAND, 1959, OVER 8’ X 12’ LICHTENSTEIN, OK HOT SHOT, 1963
ANDY WARHOL (1928-1987) SELF PORTRAIT, 1960
ANDY WARHOL, SELF PORTRAIT, 1967
If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am…There’s nothing behind it.-Warhol
ANDY WARHOL, UNTITLED (SHOES), 1956
ANDY WARHOL, ROLL OF BILLS, 1962
ANDY WARHOL, 32 CAMPBELL’S SOUP CANS, 1961-2, ACRYLIC ON CANVAS, EACH 20 X 16”
19.58, ANDY WARHOL, INSTALLATION VIEW OF CAMPBELL’S SOUP CANS, FERUS GALLERY, LOS ANGELES, 1962
19.57, ANDY WARHOL, 210 COKE BOTTLES, 1962
“A coke is a Coke & no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good”
ANDY WARHOL, AMBULANCE DISASTER, 1963
ANDY WARHOL, BLACK AND WHITE DISASTER, 1962
“The more you look at the same exact thing, the more the meaning goes away, and the better & emptier you feel”.-Warhol
ANDY WARHOL, ELECTRIC CHAIR, 1964
ANDY WARHOL, BIRMINGHAM RACE RIOT, 1964
ANDY WARHOL, THE WEEK THAT WAS, 1963
19.59, ANDY WARHOL, MARILYN MONROE, 1962, SILKSCREEN INK ON SYNTHETIC OIL, ACRYLIC, AND SILKSCREEN ENAMEL ON CANVAS, 20 X 16”
ANDY WARHOL, MONROE DIPTYCH, 1962